15 Best Guitar Pedals (June 2026) Tested & Ranked

Finding the best guitar pedals in 2026 can feel overwhelming when you start scrolling through hundreds of stomp boxes, each promising to transform your tone. I have spent the last several years building, breaking, and rebuilding pedalboards for everything from basement blues jams to small-club rock gigs, and I have learned that the right pedal depends far more on your playing style than on hype. This guide breaks down 15 standout pedals I have actually used across overdrive, distortion, fuzz, delay, reverb, modulation, wah, tuner, noise suppression, and multi-effects categories. Whether you want your first dirt pedal or you are chasing the holy grail of guitar pedals, you will find a real recommendation here based on tone, reliability, and value for money.

Our team focused on pedals that real players on forums like r/guitarpedals consistently recommend, plus a few modern options that push tonal boundaries. We avoided vanity picks and instead chose workhorses that hold up on stage, sit well in a mix, and survive being stomped for years. Each entry below includes the pros and cons I noticed, who it suits, and who should skip it. By the end, you will know exactly which of the best guitar pedals deserves a spot on your board.

Top 3 Picks for Best Guitar Pedals

If you want the short version before diving into the full reviews, here are the three pedals our team keeps coming back to. These cover the three biggest needs most guitarists have: a touch-sensitive overdrive, an indestructible tuner that powers your board, and a budget-friendly distortion that has shaped entire genres.

The BD-2 sits at the top because it does something few pedals can: it responds to your fingers. The TU-3 earns best value because it doubles as the power supply for your entire pedalboard. And the DS-1 is the budget pick that has been turning practice amps into raging rock machines since 1978.

Best Guitar Pedals in 2026

Here is the full comparison table for every pedal in this guide. Use it to scan categories, ratings, and standout features at a glance before you read the deeper reviews.

1. Boss BD-2 Blues Driver – Touch-Sensitive Overdrive

The Boss BD-2 Blues Driver is the pedal I recommend more than any other when someone asks what to buy first. I have run this pedal into clean Fender amps, dirty Marshall-style combos, and even direct into an audio interface, and it always produces something musical. The reason it earns our editor’s choice is the way it reacts to your picking dynamics rather than just slapping a fixed overdrive on top of your signal.

Turn the gain down and you get a subtle, almost amp-like breakup that cleans up the moment you roll back your guitar’s volume knob. Push the gain past noon and the BD-2 delivers a thick, growling crunch that works for blues, classic rock, and even punk. I keep coming back to it because it never sounds like a pedal is in the chain.

What really separates the BD-2 from cheaper overdrives is its headroom. The circuit has enough clean reserve that you can use it as a near-transparent boost in front of an already dirty amp. I have stacked it with a Tube Screamer-style pedal and the BD-2 always complements instead of fighting the other pedal.

The downside is that the gain knob also raises overall volume, so you will need to balance levels carefully when switching it on and off. Boss also intends this for blues through hard rock, not modern metal. For high-gain chugging you will want something like the MT-2 further down this list.

Who the BD-2 suits best

This is the perfect first overdrive for blues, rock, country, and indie players who want their pedal to respond to their fingers. If you play Strats, Teles, or Les Pauls through a tube amp and you want a natural breakup rather than a synthetic buzz, the BD-2 should be on your short list.

Who should skip it

Djent, death metal, and modern hard rock players will run out of gain quickly. If you need scooped mids and saturated distortion at all times, look at the Boss MT-2 instead.

2. Boss TU-3 Chromatic Tuner – The Pedalboard Anchor

The Boss TU-3 is not a glamorous pedal, but it is the one piece of gear almost every working guitarist owns. I have had the same TU-3 on my board for years, and it has survived drops, spilled drinks, and being kicked across a stage. It tunes quickly, mutes your signal so the audience does not hear you fumble, and daisy-chains clean power to the rest of your stomp boxes.

What makes the TU-3 the best value pick is that one purchase solves two problems at once. You get a tuner accurate to plus or minus one cent, and you get a power distribution hub for up to seven other Boss compact pedals. That alone saves you the cost of a separate power supply.

The 21-segment LED meter is bright enough to read in direct outdoor sunlight thanks to a high-brightness mode. I have used clip-on tuners that wash out under stage lights, and the TU-3 never has that problem. It also supports 7-string guitars and 6-string basses plus flat tunings up to six semitones below standard.

The main complaints are minor. Some players prefer polyphonic tuners that show all strings at once, and the warranty is only 90 days compared to the five-year coverage on Boss effect pedals. None of that has stopped the TU-3 from being the industry-standard stage tuner.

Who the TU-3 suits best

Anyone building their first pedalboard, gigging musicians who need silent tuning between songs, and players who want one box to tune and power their entire chain. If you own more than two other pedals, the TU-3 pays for itself in convenience.

Who should skip it

Casual home players who already own a clip-on tuner and only have one or two pedals may not need the bulk. A simple clip-on will do the same job for less if you never plan to expand.

3. Boss DS-1 Distortion – The Budget Legend

The Boss DS-1 has been a rite of passage for guitarists since 1978, and it is the pedal I loan to every friend who is just starting to build their tone. For well under what most distortion pedals cost, you get a hard-edged attack that defined the sound of punk, grunge, and alternative rock. Kurt Cobain, Steve Vai, and countless others have leaned on the DS-1 because it just works.

I have used the DS-1 into everything from a 10-watt practice amp to a half stack, and the character stays consistent. The unique tone control sweeps from dark and woolly to cutting and bright, which is more useful than the typical one-trick EQ on cheaper pedals. Backing off the distortion knob turns it into a clean booster that pushes your amp harder without coloring the tone.

One detail I appreciate is that the DS-1 does not mask your guitar. A Strat still sounds like a Strat through it, and a Les Paul keeps its weight. Turning the guitar’s volume down cleans up the distortion without muddiness, which is rare at this price.

The biggest limitation is gain. Modern metal and djent players will find the DS-1 too tame, and Boss does not include an AC adapter in the box. You will need a 9V battery or a separate power supply to get it running.

Who the DS-1 suits best

Beginners buying their first distortion pedal, rock and punk players on a budget, and anyone who wants a clean booster for their tube amp. For the price, there is no better entry point into the world of guitar effects.

Who should skip it

Metal players chasing tight modern high-gain tones will outgrow it fast. If you need scooped mids and saturation, save up for the Boss MT-2 or a Pro Co RAT2.

4. Boss SD-1 Super Overdrive – The Tube-Screamer Alternative

The Boss SD-1 Super Overdrive is the pedal I reach for when I want to push an already crunchy amp into singing lead territory. Its secret is the asymmetrical clipping circuit, which produces a tube-like overdrive character that sounds less compressed and more open than symmetric designs. Classic rock and blues players have leaned on this yellow box for decades for good reason.

I have used the SD-1 as a standalone overdrive into a clean amp, as a boost in front of a dirty channel, and stacked behind a fuzz pedal. Every role it fills, it fills musically. The mid-forward voicing helps a guitar cut through a dense band mix, which is why live players love it.

Build quality is the standard Boss tank-like enclosure with a five-year warranty. The SD-1 has been on my board through humid outdoor festivals and freezing winter gigs without a hiccup. Cleaning up the gain reveals a glassy, almost amp-like edge that responds to your picking.

The main drawback depends on your taste. The bright, mid-forward sound is exactly what some players want, but if you are chasing thick low-end chunk you may find the SD-1 a little thin. It is also more of an overdrive than a distortion, so lead players who want huge saturated sustain may prefer stacking it with another pedal.

Who the SD-1 suits best

Blues and classic rock players, lead guitarists who need to cut through a mix, and anyone who wants a reliable boost to push their amp into natural breakup. It pairs beautifully with Fender and Marshall-style amps.

Who should skip it

Players chasing modern high-gain or thick low-end modern rock tones may find the SD-1 too bright. Consider the BD-2 if you want a wider tonal range from a single pedal.

5. Boss MT-2 Metal Zone – High-Gain Workhorse

The Boss MT-2 Metal Zone is one of the best-selling distortion pedals of all time, and it is the first stop for anyone chasing serious high-gain tone. Its dual-stage gain circuit produces a thick, saturated wall of sound that handles everything from 80s shred to modern metalcore. I have used it for years when a song demands pure aggression.

What separates the MT-2 from cheaper metal pedals is the parametric-style mid EQ. You can scoop the mids, push them forward for a solo cut, or carve out a focused voice that sits in the mix. Players who call the MT-2 tinny usually have not spent time with those EQ controls.

The pedal rewards patience. Once you learn to dial the high and low knobs alongside the mids, it becomes one of the most expressive distortions on the market. The smooth, singing sustain is perfect for soaring leads, and the low-end chunk handles palm-muted riffs with authority.

The downside is that the MT-2 will expose weak amps and bad power supplies. Plug it into a thin practice amp and it will sound harsh. It also draws 110 milliamps, more than most compact pedals, so plan your power supply accordingly.

Who the MT-2 suits best

Metal, hard rock, and shred players who want maximum saturation and tweakable tone shaping. If your playing leans toward tight rhythms and screaming solos, this is your pedal.

Who should skip it

Blues, country, and indie players will find the MT-2 overkill. The minimum gain setting still has more bite than most styles outside of rock and metal require.

6. Dunlop Cry Baby GCB95 Wah – The Wah Benchmark

The Dunlop Cry Baby GCB95 is the wah pedal every other wah is compared against, and it has held that position since the early 1980s. I have owned several wahs over the years, and the Cry Baby Standard always lands back on my board because of its aggressive, vocal-like sweep. The red Fasel inductor gives it a warmth and expressiveness that cheaper wahs cannot match.

Rocking the pedal through its sweep produces the classic crying tone that defined funk, soul, and psychedelic rock. I have used it with Teles, Strats, and Les Pauls, and the Cry Baby translates each guitar’s character through the filter. The Hot Potz potentiometer is rated for a million cycles, so the action stays smooth for years.

The build is heavy-duty die-cast metal, made in the USA, and built to be stomped on. The aggressive modern voicing suits rock and metal players who want a pronounced sweep rather than a subtle quack.

The two main complaints are the lack of true bypass and the stiff on-off switch. Some players hear a slight tone suck when the wah is bypassed, and the toe-down click to engage can take some force. There are no volume or tone knobs, only the rocking action.

Who the Cry Baby suits best

Funk, rock, and metal players who want a bold, expressive wah with decades of proven tone. If you want the sound everyone recognizes from Hendrix to Slash, this is it.

Who should skip it

Players who only occasionally use wah may prefer a switchless model. If true bypass is a dealbreaker, look at the Cry Baby 95Q or another true-bypass option.

7. Boss RV-6 Reverb – Eight Modes of Spatial Bliss

The Boss RV-6 is the reverb pedal I install on every board I build for players who want one knob to dial in anything from a subtle room sound to a cinematic shimmer wash. The eight modes cover Spring, Plate, Hall, Room, Modulate, Dynamic, Shimmer, and a combined Delay plus Reverb. Each algorithm is studio-grade, and switching between them is as simple as turning the dial.

I use the Modulate mode more than any other because it adds a gentle chorus to the tail that makes clean passages sound enormous. The Shimmer mode is perfect for ambient and worship players who want that octave-up pad effect. Delay plus Reverb combines two effects in one stomp, which is great for players running small boards.

The RV-6 runs in mono or stereo, and the expression pedal input lets you swell the reverb level in real time. The buffered bypass is actually a plus for long pedal chains because it keeps your high end intact, even though some purists prefer true bypass.

The main complaint is that Dynamic mode, which adapts to your playing, can sound artificial when pushed hard. Stock availability has also been spotty, so check the listing before relying on a tight deadline.

Who the RV-6 suits best

Ambient, worship, surf, and indie players who want maximum reverb variety from a single pedal. The eight modes mean you never outgrow it.

Who should skip it

Players who only want a single specific reverb sound may find eight modes overkill. A dedicated spring reverb or simpler pedal will do the job for less.

8. Boss DD-3T Digital Delay – Simple and Dependable

The Boss DD-3T is the updated version of the legendary DD-3, and it is the delay pedal I recommend when a player wants simple, dependable echo without menus. Three delay ranges cover everything from slapback to long ambient wash, and the new tap tempo footswitch makes syncing to a drummer trivial. I have used this pedal for U2-style dotted eighths and rockabilly slapback with equal success.

The Short Loop, formerly called Hold, lets you capture a brief phrase and layer over it. It is not a full looper, but it is perfect for building ambient textures live. The direct output sends your dry signal to a separate amp, which is a feature usually reserved for more expensive delays.

What I love about the DD-3T is the warm analog-style digital tone. Modern digital delays can sound pristine to the point of being sterile, and the DD-3T has just enough character to feel musical. The Boss five-year warranty and tank-like build mean it will survive any gig.

The trade-off is simplicity. If you want reverse delays, multi-tap patterns, or saved presets, you need a more advanced unit like a Strymon Timeline or Boss DD-200. The DD-3T does one thing extremely well and stops there.

Who the DD-3T suits best

Rock, country, and ambient players who want a no-nonsense delay that sounds great and never fails. If you tap your delays to a drummer, this is the pedal.

Who should skip it

Sound designers and experimental players who need reverse delays, modulation, or saved presets should look at larger multi-mode delays. The DD-3T is intentionally minimal.

9. MXR Phase 90 – The Phaser That Defined Rock

The MXR Phase 90 is the phaser I think of every time someone mentions modulation. Eddie Van Halen used it on countless recordings, and the small orange box has been a fixture on rock pedalboards since the 1970s. The single Speed knob makes it impossible to dial in a bad sound, which is why I recommend it to players who are new to modulation.

The four-stage analog circuit produces a warm, swirling sweep with a slight volume boost that helps solos push through a mix. I have used the Phase 90 on clean passages for a subtle shimmer and on dirty channels for a dramatic swoosh, and both work beautifully. The compact size barely takes up any pedalboard real estate.

Build quality is classic MXR, with a heavy-duty housing that survives the road. The warmth of the analog circuit is something digital phasers still struggle to replicate.

The downsides are minor but worth noting. The pedal ships without a battery or power adapter, the single knob limits tweakability, and there is no true bypass. Some players hear a slight tone change when the pedal is bypassed, though many never notice.

Who the Phase 90 suits best

Rock, funk, and classic-era players who want the iconic phaser sound without complication. If you want one modulation pedal that always sounds right, this is it.

Who should skip it

Players who want multi-stage phasing, tap tempo, or waveform shaping will find the single knob limiting. Look at the MXR Phase 99 or a digital multi-modulation pedal.

10. Pro Co RAT2 – Distortion Swiss Army Knife

The Pro Co RAT2 is the distortion pedal I recommend when a player wants one box to cover every flavor of dirt. Its three controls, Distortion, Filter, and Volume, deliver everything from a clean boost to a full fuzz apocalypse. I have used it for grunge rhythm tones, stoner rock leads, and even as an always-on low-gain texture.

The genius of the RAT2 is the Filter knob. Instead of a typical tone control that boosts treble, the Filter rolls it off while preserving bass. Turning it clockwise darkens the sound without losing low-end weight, which is the opposite of how most distortion pedals behave. This lets you dial in thick, full rhythms that do not turn to mud.

Switching is 100 percent silent with no pop or hum, and the construction is genuinely built like a tank. The glow-in-the-dark labels are a small touch that is surprisingly useful on dark stages.

The main annoyances are practical. The battery compartment is snug and risky to open, the power adapter uses a non-standard plug, and the footprint is larger than Boss compact pedals. None of those stop the RAT2 from being a desert-island distortion.

Who the RAT2 suits best

Rock, grunge, stoner, and alternative players who want one pedal that covers a huge tonal range. If you cannot decide between overdrive, distortion, and fuzz, the RAT2 does all three.

Who should skip it

Players with very compact boards may struggle with the footprint, and anyone wedded to Boss-style power adapters will need an adapter cable. Modern metal players may want more gain-shaping options.

11. Electro-Harmonix Big Muff Pi – Fuzz Legend

The Electro-Harmonix Big Muff Pi is the fuzz pedal that shaped the sound of 60s and 70s hard rock, and it is still the benchmark for singing, sustained fuzz tone. I have used it for David Gilmour-style leads, Smashing Pumpkins walls of sound, and stoner doom riffs, and it nails each one. The three-knob interface keeps things simple while delivering huge tone.

The signature sound is a thick, woolly fuzz with nearly infinite sustain. Hold a note and it sings forever, with harmonics building on top of each other. The Tone knob sweeps from dark and menacing to cutting and aggressive, so you can dial in everything from a thick carpet of fuzz to a screaming lead voice.

True bypass means the pedal stays out of your signal path when off, which is critical for preserving high-end sparkle in long pedal chains. A 9V battery is included, which is a nice touch.

The trade-off is that the Big Muff Pi does one thing extremely well and not much else. Tone junkies will find the three knobs limiting, and modern metal players will want something tighter and more aggressive. The power adapter can also be finicky, so check compatibility before buying a supply.

Who the Big Muff suits best

Psychedelic, stoner, doom, and classic rock players who want singing sustain and a wall of fuzz. If you love the sound of 70s hard rock, this pedal belongs on your board.

Who should skip it

Modern metal and djent players will find the Big Muff too loose for tight riffing. Players who want multiple fuzz voices in one pedal should look at the EHX Triangle Buff or a modern multi-mode fuzz.

12. Boss NS-2 Noise Suppressor – Silence the Hiss

The Boss NS-2 Noise Suppressor is the pedal I add to any board that has more than three gain stages, because high-gain rigs generate hiss and hum that ruins the silence between songs. The NS-2 sits in your chain and gently clamps down on background noise while preserving the natural attack of your notes. I have used it in front of the amp and in the effects loop, and both placements work well.

The Threshold knob sets where the gate kicks in, and the Decay knob controls how quickly the signal fades. Once dialed in, the NS-2 is set and forget. It also has a Mute mode for silent tuning between songs.

The unique detection circuit preserves your picking attack, so notes do not get choked off unnaturally. Boss five-year warranty and the standard compact build mean the NS-2 lasts forever.

The NS-2 will not fix a bad power supply or a grounding fault in your amp, and it cannot fully eliminate single-coil hum from a Strat. Think of it as a noise reducer, not a miracle worker.

Who the NS-2 suits best

High-gain players, anyone running multiple distortion or fuzz pedals, and gigging musicians who need silence between songs. If your rig hisses, this fixes it.

Who should skip it

Players with simple clean rigs rarely need a noise gate. If you only run one low-gain overdrive into a clean amp, you probably do not have enough noise to justify the NS-2.

13. Mooer GE100 Multi-Effects – Budget All-In-One

The Mooer GE100 is the multi-effects pedal I recommend to beginners and bedroom players who want to explore dozens of effects without spending hundreds on individual stomp boxes. For well under what a single boutique pedal costs, you get 66 effects, 80 presets, an assignable expression pedal, a 180-second looper, and 40 drum patterns. It is genuinely impressive value.

I have used the GE100 as a practice tool, a travel rig, and a backup unit when my main board was being serviced. The expression pedal handles wah and volume duties, the built-in tuner is bright and easy to read, and the scale and chord learning function is a nice bonus for new players.

The catch is that the factory presets are rough. Most need reprogramming to sound good, and the volume jumps between patches can be jarring. Once you spend time building your own patches, the GE100 becomes much more usable.

Sound quality lands somewhere between hobbyist and entry-level professional. This is not a pedal for recording an album, but it is more than enough for practice, teaching, and casual jamming.

Who the GE100 suits best

Beginners, students, travelers, and bedroom players who want maximum effects variety for minimum spend. If you are still figuring out which effects you actually like, the GE100 lets you try them all.

Who should skip it

Gigging professionals and recording guitarists will outgrow the sound quality quickly. Individual pedals or a higher-end modeler like the TONEX Pedal will serve you better.

14. Zoom G1X FOUR – Feature-Packed Practice Companion

The Zoom G1X FOUR is the multi-effects unit I keep in my gig bag as a backup and travel rig. With 71 effects, 13 amp models, a 30-second looper, and 68 rhythm patterns, it covers more ground than pedals costing three times as much. Battery power means you can play anywhere, and it even runs off a USB power bank.

I have used the G1X FOUR for hotel-room practice, songwriting on the go, and small acoustic gigs where a full board would be overkill. The expression pedal handles wah, volume, and pitch effects, and the global EQ is genuinely useful for matching different rooms.

Where the G1X FOUR struggles is in the factory presets. They show off the range of effects but rarely sound good out of the box. Plan to spend a few hours building your own patches with the Guitar Lab software.

The 30-second looper is fine for sketching ideas but limiting for full songs. There is also no effects loop, so integrating the G1X FOUR into a larger rig takes some planning.

Who the G1X FOUR suits best

Practice-oriented players, songwriters on the move, and anyone who wants a portable backup rig. The battery power and rhythm patterns make it a great practice companion.

Who should skip it

Players who need professional sound quality or complex routing will want a higher-end unit. Serious loopers will also hit the 30-second ceiling fast.

15. IK Multimedia TONEX Pedal – AI-Powered Amp Modeling

The IK Multimedia TONEX Pedal is the most ambitious pedal in this guide, and it represents where guitar tone is heading in 2026. Using AI Machine Modeling, the TONEX Pedal recreates the sound of real amps and cabs with stunning accuracy. I have compared its modeled tones side by side with the actual amps, and the results are genuinely hard to distinguish.

The pedal ships with 150 presets plus access to ToneNET, where you can download thousands of user-created amp models for free. You also get VIR cabs with a custom IR loader, 15 pre and post effects, MIDI control, and a built-in tuner. It even functions as a stereo audio interface for direct recording.

For players who cannot afford a wall of vintage amps, the TONEX Pedal puts an entire tone library on your board. I have used it for fly dates where carrying amps was impossible, and it has never let me down tonally.

The trade-off is the workflow. The on-pedal interface is limited, and serious editing requires connecting to a computer. Some amp models are noisy until you dial in a noise gate, and the desktop software UX has room to improve. This is a powerful tool that rewards patience.

Who the TONEX Pedal suits best

Session players, fly-date gigging musicians, recording guitarists, and tone chasers who want access to a universe of amps without owning them. If you would otherwise buy multiple amps, the TONEX pays for itself.

Who should skip it

Players who want simple plug-and-play stomp boxes should look elsewhere. The TONEX requires time investment to unlock its potential, and the price puts it in premium territory.

Buying Guide: How to Choose the Best Guitar Pedals?

Choosing among the best guitar pedals is easier when you understand what each type does and how the technical details affect your tone. This buying guide covers the essentials I wish I had known when I built my first pedalboard.

Understand the main pedal types

Overdrive and distortion pedals add grit and sustain to your signal. Overdrive is milder and reacts to your picking dynamics, while distortion is more saturated and compressed. Fuzz is the most extreme, producing a woolly, broken tone. Modulation pedals like chorus, phaser, and wah move your sound in time-based ways. Time-based pedals, including delay and reverb, add space and echo. Utility pedals such as tuners, noise gates, and compressors shape your signal without adding effects.

Analog versus digital signal path

Analog pedals process your signal through physical circuitry, which many players feel sounds warmer and more natural. Digital pedals use DSP to recreate or invent sounds, which gives them more flexibility but sometimes at the cost of character. Modern digital pedals like the TONEX have narrowed the gap to the point where many players cannot tell the difference, but analog classics like the Phase 90 and Big Muff Pi still have devoted followings for good reason.

True bypass versus buffered bypass

True bypass pedals completely disconnect their circuit when off, so your signal passes through untouched. This matters in short chains, but in long chains of all true-bypass pedals you can lose high end because the guitar struggles to drive long cables. Buffered pedals like most Boss compacts keep a low-impedance signal flowing through your chain, which actually preserves tone over long cable runs. A common rule is to mix the two: a buffer at the start and end of your chain with true-bypass pedals in between.

Power and pedalboard planning

Most pedals run on 9-volt DC power, but current draw varies widely. A simple overdrive may need 20 milliamps while a digital modeler can need 200 or more. Always check the milliamp rating on your power supply to avoid noise or damage. The Boss TU-3 tuner can power up to seven other Boss compact pedals through a daisy chain, which is why it is such a popular pedalboard anchor.

Plan your pedal order

The standard signal chain is tuner, filter and wah, compressor, overdrive and distortion, modulation, delay, and reverb. There are no rules, but this order produces predictable results. Place the NS-2 noise gate either at the front of the chain or in the effects loop, depending on where the noise is worst.

Budget advice from real experience

If you are buying your first pedal, I recommend starting with the Boss DS-1 or BD-2 for under $110. Add a Boss TU-3 tuner next, then a delay or reverb, then modulation. This gives you a working board for any genre without spending a fortune. Avoid ultra-cheap no-name pedals from auction sites, as they often add noise and fail quickly.

Frequently Asked Questions

Final Thoughts on the Best Guitar Pedals in 2026

After years of building pedalboards, I keep coming back to the same handful of workhorses. The Boss BD-2 Blues Driver remains my top pick among the best guitar pedals because it responds to your fingers like an extension of your amp. Pair it with the Boss TU-3 tuner and the Boss DS-1 distortion and you have a complete starter board for under $300. From there, add a Cry Baby wah, an RV-6 reverb, or a TONEX Pedal as your style evolves.

The right pedal is the one that gets out of your way and lets you play. Pick based on your genre, your amp, and your hands, not on hype. Whatever you choose from this list, you are buying gear that real players have trusted for years.